have laboured for their own interest rather than their own reputation. We may be told, the fault is with the Town. Possibly! But we cannot omit that we have, too often-in the "School for Scandal" for instance-witnessed a most cruel metamorphorsis, affecting the real deserts of no less persons than Miss O'Neill, Mr. Young, Mr. C. Kemble, Mr. Mathews, Mr. Liston, and Mr. Fawcett. A reference to our critique on Sheridan's admirable play, will show the motives of our reproof, which we urge the more feelingly on account of the high respect we entertain individu ally for actors so eminent in their respective classes. In short, we may fairly say, that the Covent Garden force in ORDINARY has been Miss O'Neill and Madame Sachi-that, EXTRAORDINARY, Mrs. Siddons and the Tartar horses. In this melange, whimsical as it may appear, we very seriously incline to seek a source of classic taste in Messrs. Harris, Fawcett, and Farley, whose ambition it may have been, to exemplify the principle of Locke "On the Understanding," by thus contrasting the distinct attributes of INTELLECT and of INSTINCT. In course of this pie-bald display, we have enjoyed Shakspeare in all his glory, and scorned Folly in all its glare. Independently, however, of extraneous attraction, let us commemorate Mr. Farley's genius in arranging the paraphernalia of his several new melo-dramas, as well as extol his allies the machinists and scene shifters.-On "Guy Mannering," we have no further observation to make; but we avow that we liked "Adelaide," less on its second than on its first representation. Still we consider it a work more deficient in system than in merit. It is en riched with many beautiful sentiments, although it is too romantic in imagination, and too metaphoric in language. Enthusiasm, to be sure, is a leading feature in the Irish temperament; it may be partly native, and partly acquired. Their national songs and their national poet, possibly, have much influence on this species of feeling. Ossian abounds in the wildly picturesque; but, among * Vide Europ. Mag. Vol. LXIX. p. 245

poets of more educated times, we look for the graces of correct writing embellishing skilfully-connected narrative. Good style is elegant, not florid: it is natural in sentiment, and rejects figurative or conceited ornament: it is chaste, delicate, fanciful, and impressive. Ossian, on the other hand, described rude scenes of nature and of uncultivated society, amidst rocks, and torrents, and whirlwinds, and battles. We say this, rather in the mildness of counsel to Mr. Shiel, than in the tones of reproach. This young poet's more studied efforts may challenge our warmest praise. Indeed, we think they will. Miss O'Neill sustained this tragedy with her noblest exertions; and Young and C. Kemble always polish their author with the refinements of gentlemen and of scholars.

We cannot revert to the Revivals of this house in the language of com pliment. The Midsummer Night's Dream," and "Cymon." are mere raree shows; and the "Fair Penitent," and "The Orphan" are offensive to decency. It is true, the one exhibited Miss O'Neill in a perfectly NEw character— that of an unblushing wanton; and the other is repugnant to all social delicacy of reflection. Yet the perpetrators of such novelty dared to ridicule the purity of example they could not emulate. The audience, however, made them smart for their gross temerity. To the Performers, generally, we beg to repeat what we have said on that head at Drury Lane-trusting, however, to a pardonable gallantry, in pointing to Miss Stephens as a magnet of vocal attraction; and to Miss Foote, as a most improving and lovely girl. Lastly, to JoHN PHILIP KEMBLE. Talent, like every other worldly attribute, blossoms, ripens, and perishes. But this great actor's animal energies are happily not in the wane but the splendid vigour of his intellec tual superiority still preserves its dignity. The insults to which he has been exposed this last season will be an eternal blot in the records of the drama; while his memory, hereafter, shall be revered in the grave, and survive the wreck that eventually moulders his tomb. J. B. E.

June 26. Midsummer Night's Dream-The Farmer. 97. Isabella-Killing no Murder.

23. As you Like It-Rival Soldiers---Blind Boy,

29. Henry the Eighth-John of Paris.1 July 1. Romeo and Juliet-Timour the Tartar. 2. Education-Midsummer Night's Dream. 3. Jealous Wife-Love, Law, and Physic. 4. School of Reform-Harlequin's Olio. 5. Lord of the Manor-Magpie and Maid. 6. Man of the World-Sleep Walker.

Our retrospect of the performances of the Theatres Royal Drury Lane and Covent Garden having necessarily extended beyond the usual limits appropriated to the "THEATRICAL JOUR NAL," we shall be brief in our observa

tions on the minor theatres-hoticing only the principal novelties which have been produced. In our next we pur pose entering more fully into the merits of each new candidate and into the performances in general.

JULY 1. Once upon a time this little theatre possessed a mine of attraction, His boards were graced with selected actors from the winter houses, and its audience had the peculiar privilege of seeing and hearing. The mental im. pulse, however, which was paramount to the influence of the dog-days, became tributary to the supremacy of Fashion; for fashion ran wild after watering places, and watering places begat a race of lilliputian theatres throughout the kingdom, which decoy the London performers with a golden bait to make a summer circuit. To this emigration has been added a very serious grievance that of an encroachment on the proprietors' SEASON by the winter theatres, which almost rendered their patent nugatory: for collections of imperfect companies followed, which nevertheless have given a Matthews and a Liston to the town. This year, indeed, it opened under the powerful attraction of Dowton, Fawcett, Terry, Jones, Mrs. Glover, Mrs. Davenport, Mrs. Gibbs, &c. together with several new performers of merit. The play chose was Macklin's sterling comedy of "The Man of the World. The trueborn Scotchman was very ably personated by Mr. Terry, who is an actor of correct study, and of more merit than is generally known. He does not give the Scotch accent with all the truth of national dialect, but with touches of peculiarity that are more pleasing to the ear. His Sir Pertinax is a chaste, vigorous, and finished piece of acting. Mrs. Glover played Lady Rodolpha with infinite spirit-In turning to the "Castle Spectre we are at a loss to conjecture, whether Mr. Lewis's works are characterized by native feeling, or by an acquired taste from German literature. This, however, we do know that his youthful productions are all marked by a gloomy association with fancies the most terrific and least indicative of an amiable mind. We do not like this play, notwithstanding it is the evident production of powerful in

tellectual capacity: but the character of Osmond, written for Mr. Kemble, is susceptible of infinite scenic interest. It is horribly grand, and was very fairly personated by Mr. Meggett. As this gentleman possesses figure and talent, we hope he will profit by our advice, and not become monstrous in the hope of being original: we have enough of THAT already on the stage. He has, also, some few provincial habits, which he may remedy. Miss Taylor, with an agreeable person, gave extreme interest to the character of the oppressed Angela. This is a promising young ac

tress.

-In "Three Weeks after Mar riage," we were delighted with Dowton and Mrs. Davenport. Mrs. Glover's Lady Racket is a most spirited performance; not so. Russell's Sir Charles: it was Jerry Sneak in masquerade.— In the musical piece of "The Quaker,” we have to notice Mr. Hanson from Bath. and Mr. Dobson from York: they severally played Steady and Lubin to the satisfaction of their audience. We are sparing in remark-time will more fully develope their claims.

JULY 1. The Jealous Wife." We witnessed the representation of this character by Mrs. Glover, on the last night of the Drury Lane performances; and, without hesitation, pronounce her the best Mrs. Oakley on the stage. She depicts the gradual workings of jealousy upon the human frame with truth and feeling, and without extravagance. On the present occasion she sustained the part with encreased excellence.

The Major Oakley of Terry was just what it ought to be; and Mr. Meggett, as Oakley, was occasionally animated. We need not speak of the Lady Freelove of Mrs. Gibbs; and Miss Taylor very happily delineated the interesting Harriet.In the musical farce of "Lock and Key," Miss Matthews was enchantingly lovely,

JULY 17. "Such things are." In this comedy declamation usurps the place of feeling, and incongruities are introduced to supply the absence of

natural causes. The incidents do not interest; its sentiment does not affect; and its extravagance does not amuse. The piece, however, was well cast throughout: and the characters were very effectively sustained by Mr. Ter ry, Mr. Jones, Mr. Russell, Mrs. Glover, Mrs. Gibbs, and Miss Taylor. Of Mr. Watkinson's Sir Luke Tremor we, wish we could speak as favorably.—In "Darkness visible," Mr Jones, as Bob, gabbled and bustled with life and vivacity.

JULY 18. The Iron Chest." Our observations on Mr. Meggett's Osmond equally attach to his Sir Edward Mortimer. Miss Mathews was a "sweet little Barbara."

JULY 20. After the comedy of "A Bold stroke for a Husband," the " Brother and Sister," was presented for the first time at this theatre. It is needless to recapitulate the interest excited in this musical entertainment. But of Mr. Fawcett's Don Christoval, and Miss Mathews Donna Isadora, we express our warmest admiration. The former, as the old gallant of the Spanish School, was every thing we could wish: his humour was rich; his acting, chaste: he was in short once more himself. The latter, particularly in the Echo song, was loudly applauded. She is taste and fascination combined..

We know not how to limit our expressions of delight in seeing Mr. Fawcett resume his favorite characters in "Lock and Key,", the Village Lawyer, and others. This gentleman, in his own peculiar walk, stands pre-eminent, and, like the diamond, is rich in native brilliancy. We are indeed happy in embracing every opportunity of eulogising the actor, as much as we admire the man.

JULY 22. "Exit by Mistake." This is one of those heterogeneous compositions, by moderns yclep'd a comedy, but which may with more propriety be denominated an olla podrida; inasmuch as it does not possess the requisites of the former, neither does it degenerate to the extravagance of farce. It consists of equivoque and humorous mistakes, creating much sprightliness and mirth from beginning to end.

Mr.

Rowland, a Nabob, remits the bulk of his fortune to a friend, Mr. John Straw, in England, intending to return to his

1814,

native land by the first ship-but, anticipating the perils of the sea, sends his will; by which, in case a sister cannot be found, he divides his estate between: a nephew, and a widow and her daughter. Mr. Straw, shortly after, receives a letter from a Quaker, stating that the rich Mr. Rowland is departed

which he mistakes for dead - and consequently, having in vain tried to discover the sister, he pays the widow one half of the property, and sends for the nephew, Restless Absent, to give up the remainder. At this period, Straw receives a letter from Rowland from Portsmouth, where he has just landed. In this dilemma Straw wishes to introduce the widow to his friend, in the hope that the charms of her daughter inay captivate the old batchelor--and thus preclude the necessity of returning her proportion of the fortune, with which she has set up a splendid establishment. Not however having seen Rowland since he was a boy, he mistakes one Rattletrap, an actor just arrived from America, for the Naboband a good scene of equivoque follows. In the meantime Mrs. Norton, the long lost sister and her son, are brought to light, and a sereis of comic incidents provokes the greatest risibility.-The author appears to have written this melange expressly for the performers of this theatre-whose talents give an animazating zest to every thing they touch. Mr. Jones, in Restless Absent, is a sort of perpetual motion. Terry, as the Nabob, evinced richness in conception and comic expression, the true spirit of genuine comedy. Mr. Watkinson pleased us in John Straw much better than in Sir Luke Tremor-this gentleman possesses great drollery-and we trust he will not, by aiming at too much, descend to buffoonery. Mr. Russell's Rattletrap was excellent-and Mrs. Gibbs and Miss Taylor supported their respective parts with considerable talent-In short,every performer seemed to feel and act, as if the success of the piece depended on his individual exertions. It was given out for repetition with undivided applause; and we sincerely hope it will bring a more plentiful harvest to the proprietors, than the unpropitious state of the weather promises to the country in general.

July 1. Man of the World-Raising the Wind. 2. The Castle Spectre-The Review. Europ. Mag. Vol. LXX. July, 1816.

1816.

Mr.

July 3. The Quaker-Three Weeks after Marriage -Mayor of Carratt.

intricacy, but generally well managed. The original L'Homme en deuil de lui-même-is one act; and the songs have spun it out to two. It was well played throughout, and obtained the sanction of a very crowded audience. -The general management is creditable to Mr. Arnold's taste and liberality, and really deserves encouragement, as well from the novelties produced as from the excellence with which they are supported.

99. Castle of Andalusia-The Maid and the Magpie.

1. Sieve of Belgrade-Village Trick-Turn

Out.

9. Siege of Belgrade Is He Jealous-Village Trick.

3. Ditto-Ditto-Ditto.

4. Rich and Poor-Village Trick - Is He Jealous.

5. Siege of Belgrade-Is He Jealous -Village Trick.

6. My Aunt.-The Maid and the MagpieVillage Trick-Is He Jealous.

8. Siege of Belgrade-Is He Jealous-Village Trick.

9. Rich and Poor-Village Trick-Is He Jealous.

10. Siege of Belgrade-Is He Jealous-Village Trick.

1816.

July 11. My Aunt-The Maid and the Magpie-The Brave and the Fair-Is He Jealous.

19. Rich and Poor-The Brave and the FairIs He Jealous.

13. Artaxerxes-Ditto-Ditto.

15. Ditto-The Maid and the Magpie-Village
Trick.

16. 1s He Jealous-Artaxerxes-Turn Out.
17. Boarding House-Artaxerxes-The Maid
and the Magpie.

18. Bee Hive-Artaxerxes-Is He Jealous.
19. Is He Jealous-Artaxerxes-Turn Out.
20. Devil's Bridge-A Man in Mourning for
Himself.

22. Ditto-Ditto.

23. A Man in Mourning for Himself—Devil's Bridge-Village Trick

24. Ditto-Artaxerxes-The Shipwreck. 25. Ditto-Beggar's Opera-Village Trick. 26. Village Trick-The Devil's Bridge-The Shipwreck.

ROYAL CIRCUS AND JULY. This beautiful summer theatre was opened by Mr. T. Dibdin, to as great an overflow as we ever wit nessed. The transformation of the interior appeared to us the work of Aladdin's artificers. We could not conceive that so short a time could have transformed any ordinary arrangement into an exhibition of classic elegance, combining science with simplicity of taste. The several adornments are selected from the antique by Genta; and the ensemble is really splendid. From the following description it will be seen that the new proprietor has spared no expense in consulting the convenience of his visitors.

THE PITT contains eighteen double rows of benches, in the centre of which is an opening for the company to pass up and down, the same as at the Opera House; it is made to accommodate conveniently between five and six hundred persons, and is placed on an elevation of nine degrees, so that the whole of the visitors have a full view of the stage. At the back is a very extensive lobby, with a refreshment-room: the whole so formed that no inconvenience

SURREY THEATRE. can be experienced in coming in or go, ing out.

THE BOXES. The form of this part of the house remains nearly the same; but the ornamental part is superbly beautiful, all the seats have been lined with green baize; the elbows and tops of them covered with rich scarlet velvet; the insides painted with a delicate Waterloo green, and the trelisse work gilt. To the spacious lobby is added a convenient refreshment-room, completely rebuilt.

THE GALLERY being always consi dered the most convenient, both for hearing and seeing, has not undergone any alteration; but it has been ornamented with a painted round ceiling, in the centre of which is an admirable figure of Apollo's head.

THE ORCHESTRA has been enlarged, and so formed that the band nearly faces the audience instead of the stage, as is customary at other theatres. It will contain 24 musicians, and has a sounding board at the bottom, upon a new construction, which heightens the effect of the music.

THE PROCENIUM is admired by many